A debut novel based on the true story of the iconic painter, Artemisia Gentileschi. Her mother died when she was twelve, and suddenly Artemisia Gentileschi had a stark choice: a life as a nun in a convent or a life grinding pigment for her father's paint. She chose paint. By the time she was seventeen, Artemisia did more than grind pigment. She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost. He will not consume my every thought. I am a painter. I will paint. I will show you what a woman can do.

This second volume in the groundbreaking Illuminating Women Artists series delves into the stirring life and work of the Baroque painter Artemisia Gentileschi. The life of Artemisia Gentileschi (1593–after 1654) was as exceptional as her paintings. She was a child prodigy, raised without a mother by her artist father, a follower of Caravaggio. Although she learned to paint under her father, she became an artist against his wishes. Later, as she moved between Florence, Rome, Venice, Naples, and London, her artistic style evolved, but throughout her career she specialized in large-scale, powerful, nuanced portrayals of women. This book highlights Gentileschi’s enterprising and original engagement with emerging feminist notions of the value and dignity of womanhood.   Sheila Barker’s cutting-edge scholarship in Artemisia Gentileschi clears a pathway for all audiences to appreciate the artist’s pictorial intelligence, as well as her achievement of a remarkably lucrative and high-profile career at a time when few women were artists. Bringing to light newly attributed paintings and archival discoveries, this is the first biography to be written by an authority on Gentileschi since 1999.   The volume is beautifully illustrated, and Barker weaves this extraordinary story with in-depth discussions of key artworks, such as  Susanna and the Elders  (1610),  Judith Beheading Holofernes  (c.1619–20), and  Lot and His Daughters  (1640–45). Also included is the J. Paul Getty Museum’s recent acquisition, Lucretia (c.1635–45). Through such works, Barker explores the evolution of Gentileschi’s expressive goals and techniques.  

This second volume in the groundbreaking Illuminating Women Artists series delves into the stirring life and work of the Baroque painter Artemisia Gentileschi. The life of Artemisia Gentileschi (1593–after 1654) was as exceptional as her paintings. She was a child prodigy, raised without a mother by her artist father, a follower of Caravaggio. Although she learned to paint under her father, she became an artist against his wishes. Later, as she moved between Florence, Rome, Venice, Naples, and London, her artistic style evolved, but throughout her career she specialized in large-scale, powerful, nuanced portrayals of women. This book highlights Gentileschi’s enterprising and original engagement with emerging feminist notions of the value and dignity of womanhood.   Sheila Barker’s cutting-edge scholarship in Artemisia Gentileschi clears a pathway for all audiences to appreciate the artist’s pictorial intelligence, as well as her achievement of a remarkably lucrative and high-profile career at a time when few women were artists. Bringing to light newly attributed paintings and archival discoveries, this is the first biography to be written by an authority on Gentileschi since 1999.   The volume is beautifully illustrated, and Barker weaves this extraordinary story with in-depth discussions of key artworks, such as  Susanna and the Elders  (1610),  Judith Beheading Holofernes  (c.1619–20), and  Lot and His Daughters  (1640–45). Also included is the J. Paul Getty Museum’s recent acquisition, Lucretia (c.1635–45). Through such works, Barker explores the evolution of Gentileschi’s expressive goals and techniques.  

In this long-awaited follow-up to Crush, Yale Series of Younger Poets prize-winner Richard Siken turns toward the problems of making and representation, in an unrelenting interrogation of our world of doublings. In this restless, swerving book simple questions—such as, Why paint a bird?—are immediately complicated by concerns of morality, human capacity, and the ways we look to art for meaning and purpose while participating in its—and our own—invention.

The long-anticipated third collection from the revered Richard Siken delivers his most personal and introspective collection yet. Richard Siken's long-anticipated third collection, I Do Know Some Things, navigates the ruptured landmarks of family trauma: a mother abandons her son, a husband chooses death over his wife. While excavating these losses, personal history unfolds. We witness Siken experience the death of a boyfriend and a stroke that is neglectfully misdiagnosed as a panic attack. Here, we grapple with a body forgetting itself—"the mind that / didn't work, the leg that wouldn't move...". Meditations on language are woven throughout the collection. Nouns won't connect and Siken must speak around a meaning: "dark-struck, slumber-felt, sleep-clogged." To say "black tree" when one means "night." Siken asks us to consider what a body can and cannot relearn. "Part insight, part anecdote," he is meticulous and fearless in his explorations of the stories that build a self. Told in 77 prose poems, I Do Know Some Things teaches us about transformation. We learn to shoulder the dark, to find beauty in "The field [that] had been swept clean of habit."

In this long-awaited follow-up to Crush, Yale Series of Younger Poets prize-winner Richard Siken turns toward the problems of making and representation, in an unrelenting interrogation of our world of doublings. In this restless, swerving book simple questions—such as, Why paint a bird?—are immediately complicated by concerns of morality, human capacity, and the ways we look to art for meaning and purpose while participating in its—and our own—invention.

A Victorian-era Nancy Drew meets The Woman in the Window as true crime and historical fiction collide in this atmospheric thriller featuring real-life figures and a rebellious, uniquely inventive young reform school inmate determined to solve the serial killer case dominating the headlines in London, and soon, in the world: the Jack the Ripper murders. London, 1888. Committed to the Whitechapel Hall Reform School for “incurable delinquency” 15-year-old Adelaide “Dell” Morton is a precocious, defiant misfit. She’s also a voracious reader of true crime and detective fiction, including the sordid, sensationally popular Penny dreadful stories. In an unlikely stroke of luck, she’s found a kindred spirit in her poised, perfectionist roommate, Pippa. Their obsession is only further fueled by the Jack the Ripper murders blazing a trail of terror throughout London’s seediest streets . . . right outside Whitechapel Hall’s front door. Desperate for adventure, they embark on their own investigation—and discover an ally in Noah, son of the local butcher. But Noah’s motives are not mere fascination: His father is the prime suspect. Noah is desperate to clear his name, and Dell and Pippa are only too eager to help. Their budding spywork soon yields shocking results: they witness straightlaced Whitechapel teacher Miss Kaye escaping the school the night of the latest crime. Could Jack the Ripper be a she? Delving into Miss Kaye’s background, Dell is both horrified and thrilled to find that within Miss Kaye’s past lies a chapter dark enough to rival any Penny dreadful . . . Dell’s fixation with Miss Kaye reaches dangerous heights while a series of suspicious events leave Miss Kaye in sole command of Whitechapel Hall. Trapped in their teacher’s ever-tightening web of control, the three devious detectives devise a risky plan to track her. But what ensues may only propel them ever deeper into secrets, lies, ruthless acts, and betrayals that go back decades—and a confrontation that will irrevocably change the fates of all involved . . . if they survive.

A Victorian-era Nancy Drew meets The Woman in the Window as true crime and historical fiction collide in this atmospheric thriller featuring real-life figures and a rebellious, uniquely inventive young reform school inmate determined to solve the serial killer case dominating the headlines in London, and soon, in the world: the Jack the Ripper murders. London, 1888. Committed to the Whitechapel Hall Reform School for “incurable delinquency” 15-year-old Adelaide “Dell” Morton is a precocious, defiant misfit. She’s also a voracious reader of true crime and detective fiction, including the sordid, sensationally popular Penny dreadful stories. In an unlikely stroke of luck, she’s found a kindred spirit in her poised, perfectionist roommate, Pippa. Their obsession is only further fueled by the Jack the Ripper murders blazing a trail of terror throughout London’s seediest streets . . . right outside Whitechapel Hall’s front door. Desperate for adventure, they embark on their own investigation—and discover an ally in Noah, son of the local butcher. But Noah’s motives are not mere fascination: His father is the prime suspect. Noah is desperate to clear his name, and Dell and Pippa are only too eager to help. Their budding spywork soon yields shocking results: they witness straightlaced Whitechapel teacher Miss Kaye escaping the school the night of the latest crime. Could Jack the Ripper be a she? Delving into Miss Kaye’s background, Dell is both horrified and thrilled to find that within Miss Kaye’s past lies a chapter dark enough to rival any Penny dreadful . . . Dell’s fixation with Miss Kaye reaches dangerous heights while a series of suspicious events leave Miss Kaye in sole command of Whitechapel Hall. Trapped in their teacher’s ever-tightening web of control, the three devious detectives devise a risky plan to track her. But what ensues may only propel them ever deeper into secrets, lies, ruthless acts, and betrayals that go back decades—and a confrontation that will irrevocably change the fates of all involved . . . if they survive.

For the first time, the definitive history of David Lynch and Mark Frost’s Twin Peaks—the landmark cult series that changed the course of television—is told through fascinatingly detailed reporting and exclusive interviews with the show's cast and creators. From its start, when studio executives drafted a plan to recoup costs after what they predicted would be the series' inevitable failure, to the 1992 prequel movie that elicited boos at Cannes, to its unexpected and acclaimed return some twenty-five years later, Twin Peaks garnered millions of devoted fans who refused to let it die.    In A Place Both Wonderful and Strange, entertainment reporter Scott Meslow takes readers behind the curtain of Lynch’s and Frost’s dedication to finishing what they started, with both the prequel film and Showtime’s Twin The Return, offering dozens of original and revelatory interviews that cast a whole new light on the extraordinary show. Twin Peaks fans will discover how hard the mercurial Lynch and affable Frost fought impatient ABC execs (ultimately losing) to keep Laura Palmer’s murder unsolved, as well as the omerta-like secrecy around the filming of the show. For a series that left as many questions unanswered as answered, Meslow’s deep reporting will give readers a new perspective, detailing scenes left on the cutting–room floor and how Season Two’s finale stunned and infuriated studio execs in what Mark Frost calls “a defiant middle finger to what they [studio executives] thought the show should be.”  The influence of Twin Peaks is inescapable. It’s hard to imagine prestige television like True Detective, Severance, and so many other shows in this genre could exist without Lynch and Frost’s visionary brilliance. With David Lynch's passing in 2025, there will never be another return to the quirky, mysterious, and unforgettable town of Twin Peaks, but A Place Both Wonderful and Strange serves as testament to the impact it had on the world.